Drummer arrives in time to save a drowning show: librarian Peter Baxter cycled through the rain to play drums on this special episode of Ben Watson's Late Lunch With Out To Lunch, who recited "Pome" by Cloughie, a text sourced by the bassist from Rancid Poultry from "scattered words, words within words, words between words and interstitial meanings found in a clinical biochemistry textbook". In the sixteen minutes before Baxter arrived, Watson played tracks from **Zappostrophe**, the CD by guitarist Marc Guillermont from Nice which provided "Make a Blues Noise Here", the theme tune OTL google-gargles over every week: "Prologue", "Hi Roe's Back", "See U On the Next Floor Frankie", "The Dark Page Part 1", and "Why Does It Hurt Inside?". Baxter's drums and OTL's google gargle and piano were aided and abetted by "surprise" tracks on an otherwise blank CD, which included Mordecai talking about **Game of Life**, Iris reading Plate 14 of William Blake's **Milton**, a solo from James Wilson's "Fuck Off Back to Hampstead" series, Yamaha organ chords and speed-altered spoken word and mouth noise. This show was dedicated to Jair-Rohm Parker Wells.
February 1, 2016 Subject:
Ken Fox's email
Hello all, don't know how many listen regularly, but if you only listen to Late Lunch With Out To Lunch sporadically, I urge you to not miss this one - it's a fucking COSMIC EVENT. I am now a Peter Baxter fan & my head is spinning - partly from the beerz, but mostly from the past hour of heady radio - here's my rough (blind) & unedited notes - fwiw - cheers, Ken
Hello Frank Zappa? Avant-scramble & funk-crunch & atmosphere punctured with attack-drums. Music Concrete layering with funk beat & guitar jam – a ripe combo Frank himself didn’t exploit enough it seems. Geez, it’s like a lost Zappa studio album – but from what period – 88ish, but aspects of late 70s/early 80s guitar and 70s Roxy band and 60s Mothers oddness in places. But then more exploratory than Zappa studio – it wanders, looking for a place – it’s pretty – it doesn’t stick its tongue out at the record industry like Frank always found a way to do – but then why would it? And it’s live, not studio, people are clapping. I keep expecting to hear Ike Willis or Napolean Murphy Brock’s voice. A bit too ambient, peaceful, like Yo Mama without the joke attached. But then some rude mouth noises save it – Ah, the Late Lunch Thing – I forgot it was LLWOTL – what a fantastic set-up, & oh, just realized the theme song is from the same album, so THAT’s where we were headed – Make a Blues Noise! …. Mechanical thunder, kick drum with poetry – live improve drums & voice – so Peter is a drummer? Aw shit, that’s great … panting dog begging for sticks to be thrown – sped-up voices, dog growls, atonal piano – fuck! – snorks – crazy drumming … organ? What the fuck is happening here? Is this live in the studio plus recordings? This is an honest cosmic event & I don’t know what it is. The drums are talking, now the piano talks back. This is fucking JAZZ, the new thing, & builds to chaotic climactic – the drummer keeps it alive & vital so the voices can ride the apocalyptic tidings. So there’s a drum kit in the studio & OTL is at the piano with mic & pushing buttons? Low growls + high speed voices abruptly starting & stopping + piano bits & drums drop out, then come back, but talking fills - & more poetry – now cosmic event further unfolds – piano like Sun Ra – actually, this whole thing resembles an epic Sun Ra event – now drum & voice duet … + piano. A dog is being tamed – it really wants to obey, but the instructions from the drum are hard, demanding, the dog is eager, trying, barely keeping up … now weird low-voice thing – rot constitution. Pregnant moment with low drum thunder – Lunch’s voice at same speed but normal pitch – some fancy voice-lowering thingy? A long poem event concerning the nature of Australia? Devolves again, it changes. This is so fucking happening, it can’t sit still. Choking on its words, a tempest in the mouth – the words can’t escape, allowing the low voice to come back, & words flow freely with the drum coming down. Child voice, on buying/selling a house. Toxic head. Possibilities colliding, drum are talking & everyone is listening to see what happens next. Why do I feel like the drum is setting the agenda? Because that’s what I’m used to? The drum is the “beat” and everything else must conform? But the drums here are more than one thing – there is beats & fills all at once, chronic attacks & rhythmic patterns. A free-flowing moment – then a motivated beat-thing – then Iris Watson reading some weird biblical shit, fuck – oh, Blake, it must be? Yes, Blake’s Milton. OTL makes his daughter read prophetic Blake & she’s digging it, that’s awesome. The voices & growls & drums are recovering from the recitation, no, they are laying out the consequences of it – drawing a map, populating the landscape left – “vortex in your kitchen sink” seems like a false move – no need to explain – now weird voice reciting, 2nd voice making fun of 1st voice? This has a good groove, drummer talking to the voices – cymbals stating the new circumstance – low voice + elec. guitar – whose guitar? A recording? Which part is blind-base automatic, and which parts are responding? Most likely the voice is just on, but seems to be responding to guitar with drum adding its voice – SLAM – the graphic poem? – yes, with drums – wow, nicely lively synchronized duetting. OTL sounds like he is reading some alien text out of obligation, and its painful to do so, but its so fucking important to do it that he doesn’t mind so much. Shit, those drums sound great at the end. Ok, I was right about the drums in the studio - & poetry by Clough – makes sense, some of it didn’t sound like typical Lunch poems. But OMFG that was a splendiferously wacky 60 minutes.